Roberto, above all, you have a beautiful keytouch. That was my first impression already in your other Mazurka and it is the same here. You phrase not because there are melody bows written in the score but because you give it your personal meaning - sometimes even not how the expression markings are written. Rightly so!

My old piano teacher told me that one should always play a piece as if one listen to it the very first time - it has to sound interesting, if a new harmony comes, it should sound like a surprise. Exactly so you sound to me. New harmonies don't come like the next timer tick, in your case they appear, appear surprisingly. That makes the thing so interesting to listen to.

I would really like to know whether this style of dynamic phrasing is the result of sheer intuition or the result of hard, well calculated work in your case? There are so much things less gifted players like me can learn from your playing style!

I find this one of the most difficult Mazurkas to bring off, not as much technically as interpretatively. Can't say I am totally convinced by your wilful, stop-go interpretation of it, but I have to admit it is marvellously done. The detail, articulation, and dynamic contrasts are great, but the rubato and tempo changes seem a bit over the top. And as Pete said, there's perhaps a little too much pedal in places.

Anyhow, it is clear you have something special to say about the Mazurkas, and you say that very persuasively and skilfully. So, full marks despite the minor niggles (which are mostly a matter of taste anyway).

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